VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director

Teacher Resource Guide

Table of ContentS

The Cast ...... 1 The Story ...... 2-3 Behind the Story ...... 4-5 Guide Contributors & Editors

The Librettist ...... 5 Ben Jewell-Plocher The Composer ...... 6-7 Director of Education Listening & Viewing ...... 8-10 Jesse Martins

Sing-Along ...... 11-12 Youth Opera Music Director

World Timeline ...... 13-14 Greg Trupiano The Enlightenment ...... 15-16 Director of Artistic Administration The Freemasons ...... 17-18 The Fairytale Connection ...... 19-21 George Hemcher Build Your Own Flute ...... 22-24 Youth Opera & Music Administration Assistant Costume Design ...... 25-26 Nick Saldivar What Is Opera? ...... 27-29 Theater Teacher, Tuttle Elementary What To Expect ...... 30 Opera Terms ...... 31 Opera Jobs ...... 32

Special thanks to the Post-Performance Activity ...... 33-35 Sarasota Opera House ...... 36 following organizations Sarasota Opera ...... 37 for the use of articles Sarasota Youth Opera ...... 38 and content: School Programs ...... 39 Michigan Opera Theatre

Minnesota Opera

Exploration in opera is made possible through the generous support of

The The Three Ladies sopranos, mezzo-soprano Attendants to the Queen.. CATHERINE SWINDLE*, Cast NICOLE WOODWARD *, ANNIE CHESTER *

Conductor ...... JESSE MARTINS The Three Spirits sopranos + helpful guides ...... ASHLEY LEWIS , Stage Director ...... MARK FREIMAN GENEVIEVE DILAN+, MIA FREEMAN+

Scenic Designer ...... TROY HOURIE Papageno (pah-pah-GEH-noh) baritone A bird-catcher ...... MATTHEW HANSCOM Costume Designer ...... HOWARD TSVI KAPLAN Papagena (pah-pah-GEH-nah) soprano Lighting Designer ...... KEN YUNKER Papageno’s sweetheart ...... TATEV BAROYAN**

Hair & Make-Up Designer ...... BRITTANY RAPPISE Monostatos (moh-NAH-stah-tos) tenor

Overseer at the Temple, who lusts after Pamina Chorus Master ...... ROGER L. BINGAMAN ...... JOHN KUN PARK* Stage Manager ...... SARAH PRINCE Chorus of Priests, Attendants, Acolytes, and Sarastro (zah-RAHS-troh) bass Servants ...... APPRENTICE & STUDIO ARTISTS Priest of the Sun ...... BRIAN KONTES * Sarasota Opera Studio Artist Tamino (tah-MEE-noh) tenor ** Sarasota Opera Apprentice Artist a young prince ...... ANDREW SURRENA + Sarasota Youth Opera Artist

The Queen of the Night soprano powerful ruler of the realm of the moon and stars, mother of Pamina ...... ALEXANDRA BATSIOS

Pamina (pah-MEE-nah) soprano the Queen’s daughter ...... HANNA BRAMMER

Top Jesse Martins, Mark Freiman Middle Brian Kontes, Andrew Surrena, Alexandra Batsios, Hanna Brammer, Annie Chester Bottom, Catherine Swindle, Nicole Woodward, Matthew Hanscom, Tatev Baroyan , John Kun Park,

1 Running from a serpent, Tamino The (tah-MEE-noh) faints as it nears him. Three veiled Ladies kill the Act I STory creature and then admire the young man. Reviving, Tamino meets Pagageno (pah-pah-GEH-noh), a bird catcher who claims to have killed the monster. On their return, the Three Ladies punish Pagageno for lying and give Tamino a portrait of the Queen’s daughter, Pamina (pah-MEE-nah). He instantly falls in love with her. The Queen of the Night appears and asks the prince to save Pamina from Sarastro (zah-RAHS-troh), who abducted her. To protect them on this quest the Ladies present Tamino with a magic flute and Papageno with magic bells. Additionally, Three Spirits will accompany them.

Sarasotro’s slave, Monostatos (moh-NAH-stah-tos), captures Pamina who has escaped from his master’s palace but is frightened away by seeing Papageno. Overjoyed to hear that her mother has sent help, Pamina waits for Tamino to set her free.

The Spirits lead Tamino to three temples where voices urge him to turn back. From the third temple the Speaker emerges. He tells Tamino that the Queen of the Night has deceived him and that the prince will only learn the truth when he becomes a member of the brotherhood.

Papageno and Pamina search for Tamino. When Monostatos and other slaves try to stop them Papageno enchants them with his magical bells. Sarastro and his court arrive, and Pamina confesses that she tried to escape. Monostatos leads in Tamino, and the Prince and Pamina embrace. Sarastro orders Tamino and Papageno to undergo the trials of the temple.

Sarastro asks his priests to extend their brotherhood to Tamino in the hope that Tamino will defend the temple from the Queen of the Night. Act II Two priests prepare Tamino and Papageno for the trial of silence. The Three Ladies try unsuccessfully to convince the pair to return to their mission for the Queen.

The Queen of the Night appears and gives Pamina a dagger, commanding her to kill Sarastro. After overhearing this plot, Monostatos once again tries to force himself on Pamina. However, Sarastro rescues her. Angrily Monostatos throws his support to the Queen. Sarastro explains to Pamina that in his realm all are bound by love.

Tamino and Pagageno, under a vow of silence, continue their trials. The bird catcher meets an old woman who introduces herself as his future wife, then disappears. When Pamina finds Tamino, she is saddened because he refuses to speak to her (because of the trial of silence).

2 Papageno fails the trials due to his cowardice. Magically the old woman changes into a young girl, Papagena (pah-pah-GEH-nah). A priest prevents Pagageno and Papagena from embracing and tells the bird catcher that he is unworthly of a wife.

Pamina is determined to commit suicide because of Tamino’s silence, but the Three Spirits prevent her and take her to him. Reunited, Tamino and Pamina triumphantly undergo the trials of fire and water.

Papageno, searching for Papagena, decides to hang himself when he cannot find her. However, advised by the three spirits, Papgeno uses his magic bells, Papagena appears and the two happily contemplate family life.

The Queen of the Night, the Three Ladies, and Monostatos join forces to destroy the temple, but they are stopped. In triumph, Sarastro and his followers hail Tamino and Pamina.

Understanding the plot and characters before attending a performance greatly Story enhances the experience. The activities below will help your students explore and prepare for their live opera experience. Activities

Create a sequel Write a sequel to The Magic Flute Draw it out Draw a picture using the same characters from the opera. What from your favorite part of the happens after the finale? What new characters do plot and explain to the class why it is they encounter? important to the story.

Readers theater Divide into groups and assign Create your own props Create props and/or each a part of the synopsis. Within each group costumes with basic materials (paper, tape, etc.) for designate characters and one narrator. Allow a specific character using clues from the synopsis. students time to practice their scene. Students will need to create their character's dialogue based on Facebook Character Exploration Have students the assigned synopsis sections. explore the characters through the creation of Facebook profiles. Using clues in the libretto and After they have prepared, the narrator for the group synopsis, develop profiles that address each will read their section as the other students act out character’s interests, education, work, philosophy, the story. Groups will perform their part following arts, sports, likes, etc. Also include status updates the sequential order of the opera. that match the storyline and events in the opera.

For an animated plot summary, visit https://www.youtube.com/watch?v=-laVXO0IYKY

3 BEHIND Mozart’s old friend, the impresario, actor, and writer Emanuel Schikaneder, commissioned the Austrian composer to create a new Singspiel (play with music) in the The spring of 1791. Mozart was happy to have the opportunity to write another Singspiel since the last full-length one he had composed, The Abduction from the Seraglio, was STory a phenomenal success performed all over Germany. Schikaneder was the librettist for the new Singspiel, and he developed its story from several operas, novels, and fairy tales popular at the time.

Most important to the creation of the new Singspiel was the fact that SINGSPIEL (ZING-SHPEEL) both composer and librettist were Freemasons. An international secret Translated, singspiel literally fraternity, the Free and Accepted Masons where known for their liberal means “sing-play” or “play views and feared by autocratic monarchs. Schikaneder and Mozart with singing.” chose to create a Singspiel that was filled with Masonic philosophy and

ritual. For example, in the middle of The Magic Flute overture, the music The earliest singspiels were stops and, after a pause, three chords are heard three times. This plays that had popular songs “knocking” comes from the Masonic ritual and its rhythm is associated interspersed between with the Fellow Craft, or second degree, of Freemasons. The number dialogue that tended to be three is the basic symbolic number of the opera, representing the three farcical, comic, and sometimes levels of membership for Masons: there are three ladies, three Spirits, serious in nature. and even three flats in the overture’s music key (E flat major). Tamino’s

spiritual journey through the work parallels that of a man’s progress Singspiels are in German and through the different levels of Masonry. Librettist and composer often have exaggerated presented the basic tenets of their Brotherhood moments of good and evil, with respect, though not every detail of the work magic, and mystical creatures is taken from Masonic philosophy. throughout their librettos.

They were very popular in the The bulk of the Singspiel was completed by 18th century and came from early summer, but Mozart did not compose models of French opéra the overture and the march of the Priests until comique and English ballad a few days before the first performance. The opera. initial cast included Mozart’s sister-in-law as The Anna Gottlieb Queen of the Night, Schikaneder himself as Mozart’s The Magic Flute is a Papageno, and the seventeen-year-old Anna singspiel and features many of Gottlieb, who had created the role of these characteristics including Barbarina in The Marriage of Figaro five strophic writing (when all the years earlier, as Pamina. Mozart verses or words of a song are conducted from the keyboard. sung to the same music).

The Magic Flute became the greatest stage Mozart composed several success of Mozart’s life, and it was given an additional singspiels like Emanuel Schikaneder estimated 200 performances in the first few As Papageno Bastien und Bastienne (1768), months. In a letter from Mozart to Constanze, The Abduction from the his wife, he describes how his rival Antonio Salieri praised the work. The Seraglio (1782), and The Impresario (1786). . 4 audience demanded encores of the music that ranged from German KÖCHEL CATALOGUE folk-tune-inspired numbers for Papageno, to the Italian influenced arias The Köchel catalogue is a for Tamino and The Queen of the Night. The Magic Flute was a true chronological catalogue of multicultural success. compositions by Wolfgang Amadeus Mozart, originally Wolfgang Amadeus Mozart, who was only 35 years old, died two created by Ludwig von Köchel months after the world premiere of The Magic Flute. His reputation (1800-1877), in which the stood high throughout the German-speaking lands, and his passing entries are abbreviated K. and was mourned by his family and the public. Mozart’s Masonic brothers KV. held a Lodge of Sorrows for the composer, and they had printed the main speech from the ceremony as well as the Masonic cantata (K.623) that Mozart wrote just before he died.

Libretto means “little book” in Italian. It refers to the written text of an opera set to music by the composer (or, in the case of a singspiel, also the text spoken by The the performers). In earlier times it was often regarded as more important than the music, and it was common for audience members to purchase the libretto to LibretTist read during the performance.

Multifaceted German dramatist, theater director, Idomeneo in 1781, he actor, dancer, singer, and composer Emanuel promised to write a recitative and aria for a new Schikaneder was born in Straubing on September 1, production of Schikaneder’s. Later in 1791, 1751. He received his studies at a Jesuit school in Schikaneder wrote the libretto for The Magic Flute Regensburg, and training as a singer from a local and performed the role of Papageno in the cathedral. He may have been a town musician premiere. before becoming an actor with Franz Joseph Moser’s troupe (a company of actors that travel In 1801 Schikaneder built extensively) sometime between 1773-1774. the Theater an der Wien, taking advantage Schikaneder became the director of F. J. Moser’s of an Imperial license troupe in 1778, and the company appeared in Ulm, he acquired 15 years Stuttgart, Augsburg, Nuremberg, and many other before. But by 1806, he cities. They offered plays by Shakespeare (fairly could no longer afford to unknown in Germany at this time), original works, run the theater and and singspiels that Schikaneder created. subsequently sold it to a consortium of noblemen and left Vienna to work in Brno and Steyr. In the fall of 1780, Schikaneder’s troupe made an extended stay in Salzburg where he met the Mozart Taking a new post in Budapest in 1812, Schikaneder family for the first time. The Mozart’s came to many was struck with insanity. He died impoverished in of Schikaneder’s performances, and he gave the Vienna on September 21, 1812 at 61 years old, Mozart’s free tickets to his shows. Before Wolfgang having written over 50 libretti and over 40 plays in left Salzburg for Munich to open his opera his career.

5 The Austrian For a short Mozart video bio, visit composer https://www.youtube.com/watch?v=G6hVlTa7v3c Wolfgang Composer Amadeus Mozart was Frankfurt, Brussels, Paris, born in Salzburg on Versailles, and England from 1763-1766. While January 27, 1756. He was making their way back to Salzburg, they continued the seventh and last child to give private and public concerts. In February 1768 born to Leopold and his wife they went to Vienna and Leopold had a plan for Anna Maria. Only Wolfgang Wolfgang to compose the opera, La finta semplice and his sister Maria Anna (The Fake Innocent), an opera buffa, but it was not (nicknamed Nannerl) survived very successful. infancy. Both most likely did not receive a formal education, receiving academic and musical The Italian tours brought the family to Verona, schooling from their father. Mantua, Cremona, Milan, Parma, Bologna, and Florence between 1769-1771. In 1770 the Mozart’s At an early age Wolfgang showed an aptitude for went to Milan where Wolfgang composed the music and easily learned pieces in Nannerl’s music opera Mitridate, re di Ponto (Mithridates, King of book at age four. Leopold recognized that his son Pontus), right before his 15th birthday. It was a was a prodigy (a person who has an ability or an success with 22 performances, and Wolfgang extraordinary talent) and established a strict conducted the first three from the harpsichord. The practice regimen for his son. As a child, Wolfgang harpsichord would typically be situated in the began to play the harpsichord, sight read, middle of the orchestra facing the stage, so the improvise different music styles, exhibit signs of conductor could play and conduct at the same time. perfect pitch, and perform party tricks (like playing In 1772, Wolfgang was commissioned to write an with a piece of fabric covering the keyboard). opera seria, Lucio Silla, which he composed in six weeks. In Rome the family visited the Sistine Chapel When Wolfgang was and heard Allegri’s Miserere, a 9-part choral work. six, Leopold began The music was guarded by the papal choir, so no touring him one could see it. In a single hearing though, through Europe. Wolfgang was able to transcribe the entire work In Vienna, from memory. Wolfgang performed at the From 1773 through 1777, Wolfgang composed homes of the string quartets, symphonies, divertimenti (a light upper-class and entertaining composition, typically one in the including Maria form of a suite for chamber orchestra), serenades,

Theresia (the only Nannerl and Mozart at the Piano, and concertos for oboes, horns, strings, and piano. female ruler of the Leopold on the right, and Anna Around the time the family returned to Salzburg, Habsburg Empire). Maria in the portrait on the wall Wolfgang changed. As a child he worked hard Throughout their travels, it was a miracle the touring Europe under the constant guidance of his Mozart’s only contracted minor illnesses. In the 18th father. As an adult, he enjoyed social gatherings century it was very dangerous to travel, and and being the life of the party. While he did Wolfgang toured extensively throughout his life. continue to compose and perform, he was more The family returned to Salzburg at the beginning of interested in fun. His actions inevitably caused a rift 1763 but quickly were back out touring Munich, between him and his father.

6 While the relationship between Wolfgang and Wolfgang decided to relocate to Vienna and, upon Leopold was not strong, Wolfgang’s mother Anna his arrival, moved in with the Webers. The Weber Maria toured with him. In 1777 they traveled to widow had moved to Vienna with three of her Mannheim, the musical center of Europe. It was daughters: Josepha, Sophie, and Constanze. there that Wolfgang and Anna Maria met the Wolfgang fell in love with Constanze, and they Weber family and their daughter Aloysia, a young became engaged. Under pressure from Frau singer with potential. The Webers had an idea to Weber, Wolfgang married Constanze in 1782. tour Italy with the Mozart’s, but Leopold objected Leopold opposed the marriage, but Wolfgang and (especially since he and Nannerl were back in Constanze married anyway. They had nine children, Salzburg living on a tighter budget). Mozart loved but only two survived infancy. In Vienna Wolfgang Aloysia, but they never married. She became a often taught lessons to the lower nobility, gave famous singer and married another man. concerts, played billiards, and continued to compose. The couple never starved but were never In the end Wolfgang and Anna Maria stayed with financially stable. their original plan and continued on to Paris where Anna Maria became ill and died in July 1778. In 1785 Wolfgang met Leopold ordered his son to come back to Salzburg, Lorenzo Da Ponte who and by January 1779 Wolfgang was forced listen to would go on to write his father’s wishes after failing to find a rich patron librettos for Mozart’s The or musical appointment in Paris. Instead, under the Marriage of Figaro, Don guidance of his father, Wolfgang went to work for Giovanni, and Cosi fan the Archbishop of Salzburg as the court organist. tutte. The Beaumarchais’ plays, which included The Emanuel Schikaneder visited Marriage of Figaro, were originally banned by Salzburg with his troupe in Emperor Joseph II for fear their content might 1780 and met the Mozart’s insight revolution. Mozart’s operas, like the plays, for the first time. became a major success with their view on the Schikaneder asked aristocracy. Wolfgang to provide incidental music (music used During the premiere of La clemenza di Tito (The as a background to create or Clemency of Titus), commissioned in September enhance a particular atmosphere) for one of his 1791 for the Emperor’s coronation festivities, productions before Wolfgang left for Munich to Wolfgang became ill. He continued on, conducting open a new production of his opera Idomeneo. the premiere of The Magic Flute that same month, but his health deteriorated quickly by the end of Wolfgang hated the idea of servility. He did not like November. Mozart died on December 5, 1791 at 35. court procedures and restrictions. In his post as He was buried in a common grave, possibly with court organist for the Archbishop of Salzburg, he several other people. Because he was not part of was treated more like a servant than the creative the aristocracy, his common grave was subject to genius he is recognized as today. Archbishop excavation after ten years and, as was custom, no Colloredo eventually dismissed Wolfgang in 1781 mourners attended the funeral. He may have had after some turmoil. Leopold attempted to have rheumatic fever, but over 100 potential causes of Wolfgang reinstated, but the Archbishop refused. death have been theorized.

7

LISTENING For the YouTube Playlist of listening and viewing options, visit https://www.youtube.com/playlist?list=PLAJAmkPIAKZQISvFrZel9_icql2FSGI25 And

Viewing

. To protect them on this quest the Ladies present Tamino with a magic flute Act I Quintet and Papageno with magic bells. Additionally, Three Spirits will accompany them. Yes, chatter – only do not tell any more lies! Tips on how to read a libretto…

ALL CAPS denotes the character or multiple PAPAGENO I’ll never tell another lie, no, no! characters singing

PARENTHESES + ITALICS denotes a stage THE THREE LADIES Let this lock be a warning to you! direction PAPAGENO REGULAR TEXT IN PARENTHESES means The lock shall be a warning to me! character is saying something the other characters do not hear, as an aside ALL For if all liars received

A lock like this on their mouths,

Instead of hatred, calumny, and black gall, PAPAGENO Love and brotherhood would flourish. (pointing ruefully at the lock on his mouth)

FIRST LADY Hm! hm! hm! hm! hm! hm! hm! hm! (giving Tamino a flute)

TAMINO O Prince! Take this gift from me, The poor man can talk about punishment, Our sovereign sends it to you. For he has lost his speech! The magic flute will protect you,

And sustain you in the greatest misfortune. PAPAGENO Hm! hm! hm! hm! hm! hm! hm! hm! THE THREE LADIES

By it you may act with all power, TAMINO Change the passions of men. I can only pity you, The sorrower will be joyful, Because I have no power to help! The old bachelor fall in love.

PAPAGENO ALL Hm! hm! hm! hm! hm! hm! hm! hm! Oh, such a flute Is worth more than gold and crowns, FIRST LADY For through it human happiness (to Papageno) And contentment will be increased.

The queen pardons you, PAPAGENO Remits your punishment through me. Now, fair wenches – If I may I’ll take my leave. (She takes the lock off his mouth.) THE THREE LADIES PAPAGENO You can certainly take your leave, Now Papageno can chatter again! But our sovereign intends you To accompany the prince without delay SECOND LADY And hasten to Sarastro’s fortress.

8 PAPAGENO THE THREE LADIES No, thank you very much. Oh, quite certainly, yes, yes, certainly! I have heard from you yourselves That he is like a tiger, ALL Certainly, with no mercy, Silver chimes, magic flutes Sarastro would have me plucked and roasted Are needed for your protection. And fed to the dogs. Farewell, we are going. Farewell, until we see you again! THE THREE LADIES The prince will protect you, only trust in him, TAMINO In return you shall be his servant. Yet, fair ladies, tell us…

PAPAGENO PAPAGENO (The prince can go to the devil! Where the castle may be found. My life is dear to me. In the end, I’ll swear, TAMINO, PAPAGENO He’ll steal away from me like a thief.) Where the castle may be found.

FIRST LADY THE THREE LADIES (giving Papageno a chime of bells) Three boys, young, beautiful, gracious, and wise, Will hover round you on your journey. Here, take this treasure, it is for you. They will be your guides, Follow nothing but their advice. PAPAGENO Well, now! And what might be in there? TAMINO, PAPAGENO Three boys, young, beautiful, gracious, and wise, THE THREE LADIES Will hover round us on our journey? In there you’ll hear little bells ringing. ALL PAPAGENO So farewell, we are going; And can I play them as well? Farewell, farewell, until we see you again!

In the Quintet, the five singers do not always sing together. CRITICAL THINKING There are various combinations of solos, duos, trios, quartets, and quintets within this 6-minute scene.

- Can you identify the different ensembles that happen quickly? - How do they help tell the story? - Are the Three Ladies always talking to Tamino and Papageno or do they have specific things to say to the individual characters? - What two objects do the Three Ladies give Tamino and Papageno? - What characters do the Three Ladies tell Tamino and Papageno will guide them on their journey? - Can you identify a major tempo change or change in mood in the music?

Activity Have students act out the roles of Tamino, Papageno, and The Three Ladies in a play using the libretto excerpt above. No need to memorize! Everyone can use their own script and follow along. Can you find props in your classroom that can be used in this scene?

9 Sarastro asks his priests to extend their brotherhood Act II – “O isis und Osiris” to Tamino in the hope that Tamino will defend the temple from the Queen of the Night.

English Translation German

SARASTRO: SARASTRO: O Isis and Osiris, bestow O Isis und Osiris, schenket The spirit of wisdom on this young couple! Der Weisheit Geist dem neuen Paar! You who guide the wanderers’ steps, Die ihr der Wand’rer Schritte lenket, Strengthen them with patience in danger. Stärkt mit Geduld sie in Gefahr.

CHORUS: CHORUS: Strengthen them with patience in danger. Stärkt mit Geduld sie in Gefahr.

SARASTRO: SARASTRO: Let them see the fruits of trial; Lasst sie der Prüfung Früchte sehen; Yet if they should go to their deaths, Doch sollten sie zu Grabe gehen, Then reward the bold course of virtue: So lohnt der Tugend kühnen Lauuf, Receive them into your abode! Nemt sie in euren Wohnsitz auf!

CHORUS: CHORUS: Receive them into your abode! Nehmt sie in euren Wohnsitz auf!

The Queen of the Night appears and gives Act II – Queen of the night aria Pamina a dagger, commanding her to kill Sarastro.

English Translation German

QUEEN OF THE NIGHT: QUEEN OF THE NIGHT: My heart is seething with hellish vengeance, Der Hölle Rache kocht in meinem Herzen, Death and despair are blazing around me! Tod und Verzweiflung flammet um mich her!

Unless Sarastro feels the pangs of death at your Fühlt nicht durch dich Sarastro Todesschmerzen, hands You are no longer my daughter. So bist du meine Tochter nimmermehr.

Forever disowned, forever abandoned, Verstossen sei auf ewig, verlassen sei auf ewig, Forever destroyed may all ties of nature be, Zertrümmert sei’n auf ewig alle Bande der Natur. Unless Sarastro dies at your hands! Wenn nicht durch dich Sarastro wird erblassen!

Hear, gods of vengeance, hear a mother’s vow! Hört, Rachegötter, hört der Mutter Schwur!

EXTRA Check out the “Michael Barimo- CRITICAL THINKING whistler” video in the listening playlist for a different take on the Queen of the Night Aria. 1. Can you identify the tempos in both Sarastro’s Aria and the Queen of the Night’s Aria? How fast or slow are these arias?

2. Can you identify the pitch range, how high or low, for each area? Can you guess what voice type’s these two singers are?

3. The Queen of the Night sings a lot of notes very fast, also known as coloratura, how do they amplify her demand from her daughter?

10 Sing Join in the fun and learn a chorus from The Magic Flute! No need to brush up on your German; we have translated this chorus from Act I into English and created practice Along tracks for the four vocal lines. To Access the tracks, visit:

https://www.youtube.com/playlist?list=PLAJAmkPIAKZReQ7KJgNIJGKH6iAMsnZBp

Act I FinalePamina and Chorus: Papageno hear All the sound hail of Sarastro’sto Sarastro! follower’s approaching . Act I Final Chorus Papageno is terrified and asks Pamina what they should say to Sarastro. EnglishPamina Translation tells Papageno by Andrew that theyPorter should tell the truth. Then Sarastro enters with his followers andW. theyA. Mozart sing the chorus “All hail to Sarastro!”                            Piano                                                

4  S.           All hail to raSa stro! Let all men revere him!  The wise men ac claim him, the   A.     All hail to raSa stro! Letall men revere him!  Thewise men acclaim him, the  T.     All hail to raSa stro! Let all men revere  him!  The wise men acclaim him, the   B.           All hail to raSa stro! Let all men revere him!    The wise menac claim him, the    3                          Pno.                                                                                     

9  S.       false learn to fear him! Oh, long  may he guide  us to wis dom andlight,   Oh,   A.  false learn tofear him!     Oh, long may heguide us      T.    false learn to fear him! Oh, long may he guide us to wis dom andlight,  Oh,  B.     false learn to fear him!   Oh, long may he guide us  

        Pno.                                                  11 13  S.                long  may he guide us to wis domand light,  For he isour lea der, proclai ming theright.  For he is ourlea der, pro  A.     to wis dom and light, For he is our lea der, pro claiming theright.  For he is ourleader, pro  T.    long  may he guide  us to dom and light,  For he isour lea der, pro claiming theright.  For he is ourlea der, pro  B.           to wis domand light, For he isour lea der, pro claiming theright.  For he is ourleader, pro    

  3  3  Pno.                                                                       

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S.    clai ming the right. pro clai ming the right. pro clai ming theright.         A.    clai ming the right.  pro clai ming the right.  pro clai ming the right.  T.  clai ming the right.  pro clai ming the right.  pro clai ming the right.    B.      clai ming the right.  pro clai ming the right.  pro clai ming theright.     

           Pno.                                                   

21                                     Pno.                                              

English Translation by Andrew Porter Music by W.A. Mozart Transcription by George Hemcher

2

12 World Mozart lived from 1756 to 1791. Though his life was short, the beginning of the Industrial Revolution, America’s independence from Great Brittan, and the French Timeline Revolution all took place during his lifetime.

1751 In France, the Encyclopedia of Sciences, Arts, and Crafts is published representing the age of Enlightenment

1752 Benjamin Franklin flies a kite in a thunderstorm to prove that lightening is electricity

1756 Wolfgang Amadeus Mozart is born on January 27, one of the two surviving children of Leopold Mozart, a composer in the service of the Prince-Archbishop of Salzburg

1760 The Industrial Revolution begins

1761 At age 5, Mozart composes his first work, Andante in C for piano

1764 The invention of the “spinning jenny” makes sewing thread production up to 80 times faster

1769 Napoleon is born

James Watt patents the steam engine

1770 Beethoven is born

1771 Britain’s first cotton mill is introduced by the inventor Richard Arkwright

1774 The first Continental Congress meets in Philadelphia, PA

1776 The Declaration of Independence is ratified on July 4

1780 Pennsylvania becomes the first state to abolish slavery

1782 Mozart’s opera The Abduction from the Seraglio premieres

1783 The Revolutionary War ends with the Treaty of Paris

13 1786 Mozart’s opera The Marriage of Figaro premieres

1787 Mozart’s opera Don Giovanni premieres

1789 In France, a mob storms the Bastille, a symbol of French Royal tyranny, starting the French Revolution

1791 Mozart’s opera The Magic Flute premieres on September 30 at the Theater auf der Wieden, Vienna

Wolfgang Amadeus Mozart dies on November 22 at the age of 35

The first ten amendments in the United States Bill of Rights is ratified

1796 Edward Jenner Administers the first smallpox vaccine

Looking at the timeline, discuss what it would be like to live CRITICAL THINKING in the time of Mozart. How would your life be different or the same? How did discoveries and inventions of the time affect daily life? What current events and inventions have shaped your life and why?

14 Mozart lived and composed during a time known as the Age of The Enlightenment (sometimes called the Age of Reason). This title refers to the guiding intellectual movement of the time which aimed to Enlightenment establish authoritative ethics, aesthetics, and knowledge based on an "enlightened" reasoning. Enlightenment thinkers argued that reason could free humankind from superstition and religious authoritarianism, and advocated for the causes of personal freedom and education. From its inception, the Enlightenment focused on the power and goodness of human rationality. The movement provided a framework for the American and French revolutions, as well as the rise of capitalism and the birth of socialism.

Much of Mozart’s life and music were shaped by the Enlightenment and its principles. His travels to England and France had exposed him to the ideals of independence and equality, and eventually, Mozart sought to support himself with public concerts and commissions, as opposed to remaining in the service of the court. His operas also examined Enlightenment ideology; for instance, in The Marriage of Figaro, servants play a central role. Previously, servants were comic figures to be laughed at; but Mozart presented them on stage as equally worthy of attention as any nobleman.

The Enlightenment brought the now widely accepted principles of reason and equality into the public consciousness throughout much of Europe, and its leaders spoke out against aristocracy, class division, and religious and racial prejudice.

The time period of the Enlightenment covers about a century and a half in Europe, beginning with, according to some, the publication of Francis Bacon's Novum Organum (1620) and ending with Immanuel Kant's Critique of Pure Reason (1781). Others mark this movement as beginning at the close of the Thirty Years' War in 1648 and ending with the French Revolution in 1789. This movement began in England, but eventually spread to have influence in many parts of the world.

Enlightenment leaders

FRANCIS BACON, an English BARUCH SPINOZA, a Jewish- philosopher, statesman, orator, Dutch philosopher who was and scientist who is considered critical of religious scriptures, the ‘father of empiricism’ for his and promoted a view that the work and advocacy of scientific Divine was in all. His philosophy method and inquiry. influenced later philosophers, writers, and romantic poets, such as Shelley and Coleridge. RENE DESCARTES , . a French philosopher and "COGITO ERGO SUM; mathematician. Descartes made I THINK, THEREFORE I AM" a significant contribution to the philosophy of rationalism, and his willingness to doubt previous certainties paved the way for later discussion and debate of what had been established as “fact”. 15 JOHN LOCKE, a leading JEAN JACQUES ROUSSEAU, a philosopher and political political philosopher who was theorist, who had a profound influential in French revolution. impact on liberal political He sought to promote a more thought. He argued for liberty, egalitarian form of government religious tolerance, and rights to life by by consent and formed the basis of and property. Locke was an influential figure on modern Republicanism. those involved in the American and French revolutions, such as Jefferson, Madison, and Voltaire. BENJAMIN FRANKLIN, an author, politician, diplomat, scientist, and statesman, as well SIR ISAAC NEWTON, who as a key figure in the American pioneered studies in enlightenment. Franklin was an early mathematics, optics, physics, supporter of colonial unity in the United States, and and astronomy. In his Principia one of America’s Founding Fathers. Mathematica, published in 1687, he laid the foundations for classical mechanics, explaining the law of gravity and the laws of motion. MARY WOLLSTONECRAFT, who espoused some of the most controversial and radical VOLTAIRE , ideas of any Enlightenment a French philosopher and critic thinker, fighting mainly for best known for his work women’s rights and equal access to education. She Candide (1762), a satire and was a believer that marital rights for women were criticism of social convention. unfair, calling marriage a legal form of slavery and Voltaire was instrumental in promoting republican prostitution. Her views led people to question the ideas due to his criticism of the absolute monarchy treatment of women in her time, and her book on of France. women's rights and education, A Vindication of the Rights of Woman, still stands today as a classic of feminist thought. IMMANUEL KANT, an influential German "DARE TO KNOW! HAVE COURAGE TO philosopher whose Critique of USE YOUR OWN REASON!" Pure Reason sought to unite reason with experience and move philosophy on from the debate between THOMAS JEFFERSON, rationalists and empiricists. Kant’s philosophy was an American Founding Father, influential on future German idealists and the third President of the philosophers, such as Shelling and Schopenhauer. United States, and the principle

author of The Declaration of Independence. In the Declaration, Jefferson laid Article Used with permission from out the fundamental principles of America, calling Michigan Opera Theatre for equality and liberty

16 A tradition that was codified in 1717, but traceable to the guilds of the The Middle Ages, Freemasonry prospered during the enlightened 18th century. But as the age turned to revolution, the Craft became tainted with Freemasons an air of subversion, at least in royalist eyes. As most of the founding fathers were Masons, and as the American Revolution was a act against the English monarchy, Freemasonry became synonymous with rebellion and free thinking. The French Revolution, just two years before The Magic Flute’s premiere, was also supposed to be fueled by Masonic thinking, in particular with their common identifying trademarks of “Liberty, Fraternity and Equality.” Though initially tolerant, Joseph II would later greatly reduce the number of lodges in Austria to only three. After the execution of French Queen Marie Antoinette in 1793, their nephew, Emperor Francis, completely eradicated Freemasonry in Austria. The ban would last for over 100 years.

Was The Magic Flute intended to be propaganda for the vanishing Craft? As recently as 1787 The Magic Flute librettist Schikaneder had joined a Regensburg Freemason lodge, but fell into disfavor as a result of his many affairs with as many women. Mozart had been a member since December 1784, and though he had composed some Masonic music (songs, cantatas, funeral music), his attendance at the lodge appeared to wane after a few years. It is therefore curious that both artists would devote so much attention to Freemasonry when composing their new opera, for it appears The Magic Flute is laced with Masonic symbolism.

FREEMASONRY The predominance of the Freemasonry, the teachings number three and its multiples is a and practices of the secret case-in-point – the triangle has particular significance to the Masons. fraternal (men-only) order of Free and Accepted Masons, - The opera makes a trinity of almost everything: three ladies, three the largest worldwide secret boys, three trials, three temples, threefold utterances and the list society. Spread by the advance goes on.

of the British Empire, - The overture and Act II finale are set in the key E-flat (three flats) Freemasonry remains most with the opera itself beginning in the Sturm und Drang relative popular in the British Isles and minor of C. in other countries originally within the empire. Estimates of - The overture opens with five solemn chords (five is another sacred the worldwide membership of number) posed in three inversions to a syncopated rhythm Freemasonry in the early 21st (anapestically repeated three times, often described as the secret century ranged from about two “knock” of the lodge – it recurs at the beginning of the million to more than six million. development section and later during the rituals opening Act II).

Definition from the Encyclopedia Britannica The presence of the Speaker also denotes a hierarchal position of the lodge. In his highly detailed book, The Magic Flute, Masonic Opera

17 (Knopf, 1971), Jacques Chailley scrutinizes the plot, detecting the existence of further tests, both air and earth for both Pamina and Tamino. All four trials were important to the Masons’ initiation rites and are drawn from Terrasson’s novel Séthos, from a temple inscription the title character examines: “He who walks this way alone, and without looking behind him, will be purified by fire, water and air: and if he can conquer the fear of death, he will go out again, out of the bowels of the earth and see the light again …”

In addition to being seditious, the brotherhood of Freemasons was accused of being misogynist, and those elements speak clearly throughout the opera. The haranguing Queen of the Night is the most obvious stereotype as being both a wicked, deceptive and narrowminded sovereign (a clear jab at the dead Empress Maria Theresa, the only female ruler of the Habsburg Empire) and a jilted woman hell-bent on revenge.

There is also a peppering of cautionary advice to beware the wiles of women. Granted, Masonic lodges excluded women, but in France there were separate lodges for both sexes. As it turns out Pamina is allowed to undergo the trials of fire and water with Tamino, and it is her strength and wisdom that gets them through the harsh experience. And Sarastro’s realm is not entirely female free, A group of Freemasons in ceremonial dress, 1902 as we are informed by the choruses at the end of each act. Likely the light-hearted sexual stereotypes are due to the culture of the day – remember Mozart’s two previous operas, Così fan tutte and La clemenza di Tito, are less than flattering to the “fairer sex.”

One final faulty derision toward the Freemasons – that members of the Craft caused Mozart’s death for revealing too many secrets – has long since been discredited. After all, Schikaneder didn’t die until 1812, and then of natural causes. To the contrary, generosity was a trait espoused by the Masons, who helped each other out during hard times. Fellow Freemason Michael Puchberg often assisted Mozart financially during his final years. And following the composer’s death, the Order dipped into its fund for widows to help Constanze pay for her husband’s funeral.

Article Used with permission from Minnesota Opera

Article Author: David Sander

Freemasonry and Freemason lodges are still in existence today. Freemasons Check out this video from CBS Sunday Morning on the history, myths, rituals, and current facts of Freemasonry: Today https://www.cbsnews.com/news/inside-the-secret-world-of-the-freemasons/

And this article on NPR on a current Freemason lodge: https://www.npr.org/2014/08/27/342209139/freemasonry-still-alive-and-well-and- mostly-men-only

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Excerpts from David J. Buch’s article The Fairy-Tale Literature and Die Zauberflöte

Fairytale Fairy tales are an German writer and Statesman Goethe recalled that old form of in his early youth a great amount of the simplest Connection narrative whose kind of German folk literature was commonly earliest sources circulated in cheap, mass-produced little books. date back to ancient German poet and writer Egypt. We find them in Christoph Martin Wieland, almost every period and as the editor of the literary geographic area, and their legacy survives in magazine Teutscher Merkur today's popular films. Many motifs are common to (The German Mercury), wrote fairy tales from widely differing times and places, in that he was hearing demands the myths, fables, and stories in every language, in from all directions for more fairy part due to the psychological function of fairy tales. tales and reviews of their production.

The appeal of fairy tales to literati as well as their Wieland's Dschinnistan, oder auserlesene Feen- accessibility to popular understanding made for a und Geistermärchen (exquisite fairy and ghost fairy rapid growth in their publication and dissemination. tales, partly reinvented, partly translated and The central source of tales for the German writers reworked) appeared in three volumes in 1786, 1787, was the immense 41 volume collection, Le Cabinet and 1789. The title Dschinnistan refers to a mythical des Fées (The Fairy Cabinet) (1785-89), which land commonly mentioned in "oriental" fairy tales. included many Wieland included stories by the earlier French Weimar chamberlain, works by Friedrich Hildebrand von Charles Einsiedel, and two by Perrault August Jacob Liebeskind, among others. Wieland's son-in-law. By the mid- Liebeskind is in fact the 18th Century author of the story, “Lulu, oder much of this die Zauberflöte” (Lulu, or the Magic Flute) from material was which the opera took its name and a few of its also available features. in German translations. In his prefatory remarks, Wieland introduces his fairy While fairy tales had been a source of inspiration tales and discusses his methods of translation, well before the late eighteenth-century, this period adaptation, and creation. He admits handling the found German writers beginning to acknowledge its original stories very freely, not merely translating singular value in verse and prose. Later in the but taking a more active role as editor: century, influential writers pointed out their intrinsic supplementing, deleting, and rearranging the value. This was both a reaction against the restraints preexisting material, as well as highlighting of contemporary German literature in its heavy allegorical elements related to the Enlightenment, reliance on the models of classical antiquity, and a e.g., reason versus superstition, freedom from fascination with the “natural”, unsophisticated spirit oppressive authoritarian rulers, etc. He observes of folk literature. that unlike other literature, fairy tales have a special

19 appeal to all ages, races, and ranks. He expresses Magic Flute. In “Das Labyrinth” four Knaben serve his notion of the elevation of "low" or "folk" art into as guardian spirits to a young prince who pursues "high art" through the agency of the artist and its the daughter of a queen, similar to that in The consequent appeal to readers at both levels. Magic Flute (she has even been promised to him by the queen in a parallel scene). The first story in Dschinnistan, “Nadir und Nadine”, employs the same plot reversal found in The Magic In “Das Labyrinth” there is also an awesome Flute. A seemingly evil magician steals away a midnight scene, announced by twelve strikes of the young woman, while an apparently good magician bells, similar to the one in The Magic Flute, as well comes to the aid of the young hero in pursuit. At a as a mysteriously appearing table set with food and decisive point in the story it is revealed that the drink (as it is for Tamino and Papageno in The Magic magicians are not as they seem - the evil abductor Flute). Another of these scenes of terror appears in turns out to be benevolent and the magician who “Der eiserne Armleuchter” (The Iron Candelabrum), seemed helpful is actually the villain. Finding the when a weak-willed young man finds himself alone source of the famous "plot reversal" in The Magic and terrified in a dark underground cavern, exactly Flute is significant because much has been made of as Papageno does in the opera. Rescues from its awkward effect. We also read of a magic ring that suicide attempts (most often by knife or sword) in is used at the conclusion to bring Nadine back to “Das Labyrinth” and “Die klugen Knaben” (The Nadir. This may have been the inspiration for Clever Boys) recall both Pamina's and Papageno's Papagena's return to Papageno at the end of The suicide attempts in The Magic Flute. When Magic Flute, through the use of the magic bells. Schikaneder created a sequel to The Magic Flute, he looked to “Das Labyrinth” and treated it with Some elements commonly thought to be Masonic similar freedom by adding elements from other in The Magic Flute appear in these tales without any stories in the collection, making radical changes in such meaning. Musicologist Egon Komorzynski every dimension. He even altered the title, as he mentions the similar trial scene in “Der Stein der had done with the The Magic Flute. Weisen” (The Philosopher's Stone), as well as the Egyptian references. Also depicted here is an The Magic Flute contains some of the motifs we exclusively male ritual. Although writers today often frequently find in fairy tales, e.g., magic instruments believe this is derived from Masonry, it is in fact and objects that have the power to change the present in fairy tales without Masonic meaning. In hero's life, wise magicians, severe tests and trials, “Der Druide” (The Druid), an enlightened group of secret orders of initiates, temples, pair of older males instruct a headstrong youth (Egyptian contrasting comrades on a mutual quest, and young symbols also appear in this story). In “Der Palast der couples, generally prince and a princess. The use of Wahrheit” (The Palace of Truth), the hero is warned matching male and female forms of characters' against "women's falsehoods," and in “Der names is typical, e.g., Nadir and Nadine, Papageno Zweikampf” (The Duel), the hero accepts a required and Papagena, Tamino and Pamina. Humor is a vow to renounce associating with women. common element, as are admonishing tales of drunkenness, lying, and exaggeration - Papageno's We encounter wise, magic Knaben (boys) in two vices. Cowardice and talkativeness are punished by stories. In “Timander und Melissa” there is a small the loss of speech - Papageno's punishment. Plots vehicle with silver-plated oars, rowed on each side often have heroes captured and then liberated. by "drei Knaben, schön wie Liebesgötter." (three Some of the more characteristic fairy tales reveal boys, beautiful as gods of love). This may very well similarities to the libretto. In the story " Der Rabe," account for the presence of a similar vehicle in The

20 A BRIEF OUTLINE OF THE TALE (The Raven) a queen's daughter is held captive and turned into a raven. Her young rescuer is warned “LULU, ODER DIE ZAUBERFLÖTE” that he must remain awake and not eat or drink anything that an old woman will bring to him. He A wicked magician, Dilsenghuin, has robbed the promises but fails, like Papageno with his "old "radiant fairy" Perifirime of her daughter, Sidi, and woman," the disguised Papagena. As mentioned carried off a magic talisman. The magician keeps before, the dangers and wiles of women are the damsel in confinement and persecutes her with frequently found in these stories. In the Greek myth amatory advances which she is able to resist of Psyche and Eros, Psyche sets out on a journey, through a power which is to support her so long as only to become prey to a serpent. Eros saves her her heart is untouched by love. and keeps her hidden in his castle. Her sisters talk Perifirime promises the hand of her daughter, her into killing her captor Eros with a knife they give whose father is the King of Cashmere, to Prince her. She cannot kill him, so she tries to kill herself Lulu, son of the King of Chorassan, if he can regain instead. She is saved when Zeus comes down to the stolen talisman for her. To do this, however, is make Psyche and Eros immortal. They are married given only to one who has never felt the divine on Mount Olympus and give birth to "pleasure." passion. Lulu undertakes the adventure, and as aids the fairy gives him a magic flute and a ring. The Fairy tales give the child hope for resolutions to his tone of the flute will win the hearts of all who hear dilemmas and anxieties, such as separation, loss, it; by turning the ring, the wearer is enabled to helplessness, and abandonment. While logical assume any form desired at will; by throwing it tension is often useless in communication with a away he may summon the fairy herself to his aid. three-year-old child, the fairy tale directs itself to his most intimate experiences and anxieties in the The Prince assumes the form of an old man, and, world of giants and magic - his "internal" world. The like Orpheus, softens the nature of the wild beasts fairy tale, narrated by a parent (the source of the that he meets in the forest. He even melts the heart child's security and often his anxiety), safely of the magician himself, who admits him to his externalizes conflicts, promises resolutions castle. Once he is within its walls, the inmates all symbolically, and relieves unconscious pressures in yield to the charm of his magical music, not fantasy. While we know little about the psychology excepting the lovely prisoner. At a banquet he of eighteenth-century audiences, it is likely that throws the magician and his companions into a there was a greater prevalence of superstition in deep sleep and possesses himself of the talisman. everyday the demons, spirits, sprites, and a host of It is a gold fire-steel, every spark struck from which becomes a powerful spirit whose service is at the evil-minded forces believed to influence one's command of the possessor. existence. The fairy tale reassures that such forces can be overcome. Its popularity for the German- With the help of genii, struck from the magical speaking middle classes in this period made it a implement, and the fairy whom he summons at the suitable source for plays and libretti. Its last, Prince Lulu overcomes all the obstacles placed effectiveness for today's audience is partly based on in his way. Discomfited, the magician flies away as the continuing presence of the source of those fears an owl. Perifirime destroys the castle and carries in conscious and our recollection of the fairy tale's the lovers in a cloud chariot to her own palace. comforting effect upon children. Their royal fathers give their blessings, and Prince . Lulu and Princess Sidi are joined in wedlock. Buch, David J. "Fairy-Tale Literature and "Die Zauberflöte"." Acta Musicologica 64, no. 1 (1992): 30-49. Source: OldAndSold.com doi:10.2307/932991.

21 By Nick Saldivar While you can find many examples of this craft Build online, I wanted to elevate the activity by tuning the straws to specific notes. I was working with younger students at the time, your own so I went ahead and tuned the notes myself before they arrived. If you’re in a similar situation, feel free to go down the same route. If you’re working with Flute older students, I encourage you to let this become a lesson about the science of sound. Let them experiment with the tuner and find the correct pitches.

Supplies Playing Tips

- Plastic Drinking Straws (8 per student) When you play the pan flute, you’ll need to think - 2 pieces of Poster Board or Vellum about it like you’re playing a traditional metal flute. (Cut to 2.5 in x 8 in) You’ll need to suck in your lower lip and push out - Scotch Tape your upper lip. When you begin to blow out air, it - Double Sided Tape should come directly down toward your chin (See - Crayons, Colored, Pencils, or Markers the example image). - Phone or tablet with a tuner App (Optional) - Ruler (Optional) Having the flute produce sound is a balancing act of between the amount of air needed and the angle of the straw.

- CRITICAL THINKING As your students - What causes the straw to make a musical note? begin to - Why do the straws sound so different when play, they are sealed and not sealed? encourage - How does the length of the straw effect the them to sound that is made? make small adjustments till they find the right balance.

Instructions

Cut 2 pieces of poster board or vellum to 2.5 inches wide 1 and 8 inches long.

22

2 Take 8 straws and cover one end on each with regular scotch tape. It doesn’t need to look pretty. It is important to create a good seal on the end of the straw.

3 Download a free tuner app to your phone or tablet device. (I used insTuner for iPhone but search your app store and you will find many free options.)

3a. Measure the full length of the straw and write it down.

3b. With the tuning app open, blow into the full length straw and see what note is made and write it down next to the measurement. For example, my full length straw started on a G note. So I would write 8.5 Inches & G.

3c. If the note is flat (too low), make a very small cut to try and tune the straw up. For example, a flat G can be turned to a proper G with a small cut.

If the note is sharp (too high), cut until they reach the next note. (For example, a sharp G would need to be cut till you reach the next note, A.)

3d. There are 7 notes in the scale. (A, B, C, D, E, F, G) When you reach G you start back again at A. In my example, my flute would be making these notes from lowest to highest: G, A, B, C, D, E, F, G

3e. IMPORTANT; make VERY small cuts. Even removing 1/16 of an inch can dramatically change the pitch.

3f. continue to cut and tune the straws until you have a complete scale while making sure to write down the measurements and notes from the tuner.

23

decorate one side of the poster board pieces with 4 crayon, colored pencils, or markers.

5

Once finished, place two long strips of double sided tape on the undecorated side of the poster board. (The tape does not show up well on camera, so they are denoted by the brown dotted lines.)

6 Begin placing the straws on the double sided tape. Make sure the taped end of the straws are on the poster board

and the open ends are facing up.

7

Take the other piece of poster board that has been prepared with double sided tape and place it on top of the straws. Press down to ensure they are stuck together but be careful not to break the straws.

8 You’re done! Enjoy playing your pan flute!

24 Costume Costumes provide the audience with important clues about the characters in an opera. Details about the wealth, profession, goals, secrets, and relationships with Design other characters can all be represented by the clothes a character wears.

The costume designer plans or designs the costumes and supervises their construction. Through research and careful planning, they insure that the performer’s costumes fit the character as well as the time period and location in which the opera is set. They also take into account any “clues” the composer and librettist includes in the score which tell how the character might act or physical actions they might do (for example, hide something on their person).

Two of costume designer Howard Tsvi Kaplan’s designs for The Magic Flute can be found below. Mr. Kaplan has been Sarasota Opera’s resident costume designer since 1998 and has designed for more than 20 different productions. Other recent endeavors include The Man of La Mancha (Olney Theatre - nominated for a Helen Hayes Award); The Mikado (Pittsburgh Public Theatre); Il Trovatore (Opera New Jersey), The Marriage of Figaro and Werther (Kentucky Opera), Siege of Corinth and La bohème (Baltimore Opera). For twelve years, Mr. Kaplan designed for Ringling Bros. & Barnum and Bailey Clown College

Activity Using the body form sheet on the next page, design your own costume for one of the following characters from the opera. If possible, include fabric swatches to help those constructing the costume know what types of materials to use when building the garment.

Queen of theof Queen Night The TheSpirits Three

25

CHARACTER

How old are they?

What is their profession?

Are they wealthy, poor, or other?

What type of character are they (protagonist, antagonist, villain, confidant, stock, etc)?

Which characters do they interact with?

Is there anything special they need to do in their costume (fight scenes, dancing, jumping, etc)?

Does their costume need to hold anything (sword, items that fit in a pocket, etc)?

Does their costume need to “transform” onstage in front of the audience at any point? If so, how would this be achieved?

26 What Opera translated means “work.” It is a play where all the words are sung and accompanied by an orchestra. Operatic singing is acoustic which means the singers Is do not use microphones.

opera Listening to recordings is a great introduction to the art form, but going to an opera is the best way to enjoy this multi-sensory experience. Opera incorporates singers, an orchestra, a set, costumes, lighting, and many other aspects that make it theatrical.

A key part of an opera is the plot. The plot of an opera is usually extended over a long period of time and is usually an abbreviated and/or modified form of the original play. The words of an opera are written by a poet and quite often follow a poetic structure.

An aria is a song sung by one person where they express their emotions. Most often the plot comes to a standstill, and text is repeated to emphasize the character’s emotions. Opera has its roots in ancient Greece because Greek plays were accompanied by instruments and a chorus that sang, danced, spoke their lines, and sometimes wore masks. During the Renaissance Period (1400-1600), short musical dramas known as intermedii were performed during a play’s intermission. Poliziano’s Orfeo from 1480 is recognized as the first and is based on the Greek legend of Orpheus. During the late Renaissance, the Florentine Camerata (a group of musicians, poets, and intellectuals who met at the house of Count Giovanni de’ Bardi in Florence) facilitated the birth of opera. L’Orfeo by Claudio Monteverdi (1567-1643) in 1607 is divided into 5 acts or https://youtu.be/6YJIJlGkUJw parts and is accompanied by an orchestra of over 20 players.

George Frederick Handel (1685-1759) composed a total of 42 opera’s during the Baroque Period (1600- 1750) including Armida, and Giulio Cesare. Baroque opera is almost entirely based on epic stories of royalty known as opera seria. These operas were often accompanied by an orchestra that featured a harpsichord. By the 17th century the harpsichord was widely available and became an integral part of the opera orchestra during recitative, a kind of sung speech. A harpsichord is like a modern piano, but instead of strings being struck by padded hammers the strings are plucked.

The Classical Period (1730-1820) is most prominently associated with Wolfgang Amadeus Mozart (1756-1791). He composed several types of operas including opera buffa “comic opera” like The Marriage of Figaro, opera seria “serious opera” like Idomeneo, and singspiel “sing- play” like The Magic Flute. A singspiel is an opera in German that includes singing and spoken dialogue instead of recitative. Mozart not only stayed with tradition but helped change opera by blending serious and https://youtu.be/RHfRq9rYSr8

27 comedic action into one story called drama giocoso like Don Giovanni.

The Romantic Period (1780-1910) is the golden age of opera and many different styles. Gioachino Rossini (1792- 1868), Gaetano Donizetti (1797-1848), and Vincenzo Bellini (1801-1835) all wrote operas that use bel-canto style “beautiful singing.” Bel-canto compositions emphasize legato phrases where the notes are sung smoothly and connected. This style also has many coloratura passages where many notes are sung quickly like in Rossini’s Barber of Seville, Donizetti’s Lucia of Lammermoor, and Bellini’s https://youtu.be/92jiitUEahg The Capulets and The Montagues.

Sarasota Opera is the only opera company in the world to have performed all of Giuseppe Verdi’s music, including his opera Aida. Giuseppe Verdi (1813-1901) composed 28 operas over the span of 54 years. Verdi’s work is rooted in bel-canto style, but developed drastically over 54 years, focusing on the humanity of his characters and the drama itself. Aida, set in ancient Egypt, features a large cast, large chorus, large orchestra, and a very lavish set. Other famous Verdi operas include La traviata, Falstaff, Il trovatore, and https://youtu.be/czEfHr8YGPA Otello. Falstaff and Otello are based on Shakespeare’s A plays.

Richard Wagner (1813-1883) composed German Romantic Opera during the aforementioned Romantic Period and set out to recreate opera according to his ideals. He had his own theater built which places Wagner’s very large orchestra under the stage where the audience cannot see them. He even created theatrical innovations like darkening the auditorium during performances. His four-opera cycle called The Ring Cycle is over 15 hours of music. Wagner uses leitmotifs throughout his operas. A leitmotif is a short https://youtu.be/uOk_lqPlXQE musical phrase which describes a person, place, or character. This phrase can be used throughout the opera or across multiple operas like The Ring Cycle. Wagner referred to his aesthetic ideals as gesamtkunstwerk, a total work of art, where music, drama, theatrics, and sometimes dance are brought into union.

French composer Georges Bizet (1838-1875) wrote his most famous work Carmen during the Romantic Period. Carmen is an opéra-comique, a French opera with spoken dialogue. While opéra-comique has its origins in vaudeville, it is not always funny or lighthearted. An opéra-comique can be a tragedy like Carmen.

Tragedies are an extension of ancient Greek theater, and the main theme is human suffering.

28 In the later part of the Romantic Period, Giacomo Puccini (1858-1924) composed Italian opera in the verismo style. Verismo operas usually focused on the stories of everyday men and women rather than the upper class, Gods, or mythological stories. Its origins began in the Italian literary movement. Puccini’s La bohème is set in Paris, France in the 1830s and follows the story of poor young aspiring artists.

Opera is in constant growth and development, and by the https://youtu.be/1tlM9arIzZc 20th and 21st Century more operas in English are being composed making the art form more accessible to English speakers.

Opera has survived because it is the highest art form that encompasses all other art forms, and opera companies are working harder than ever to make opera more accessible to everyone. At Sarasota Opera we have our Youth Opera program for kids 8 – 18, Da Capo Society, an opera club for people 21 – 45, outreach concerts, opera talks, opera house tours, and our main stage performances during the season. We are making sure to reach as many people in the community to bring them this beautiful music as possible!

The Triumphal March from Sarasota Opera’s 2016 production of Aida

For a short, animated intro to opera video, visit: https://www.youtube.com/watch?v=f4xrWfFsshw

29 What To Expect

Opera is not a remote art form that only the initiated appreciate. It reflects human conflicts and passions.

It has inspired a level Images by Rod Millington of devotion in some people best compared to that of a die-hard sports fan. Just as you do not need to know every statistic to enjoy watching a football game, you do not need to be a music or opera expert to enjoy a performance.

Supertitles Real-time English translations are Eating and drinking During regular above the stage, providing immediate performances, food and drinks are available prior understanding of what is happening, helping you to the show and during intermissions. During dress to experience the excitement of the performance rehearsals and school matinees, our concessions no matter what the language. are closed.

Theater With just under 1,200 seats, there are no Restrooms There are ample restrooms located 'bad' seats in our theater. Most operagoers love in the lobby of the theater. We ask that you attending opera in our theater because of its encourage your students to use the bathroom intimate size. before the opera begins or during intermissions.

What to Wear Dress comfortably and be Late Seating If you arrive after the performance yourself. Opera is not the playground of the rich, has begun or leave while an act of the opera is in and we work hard to make sure that everyone feels progress, you will need to wait until an intermission at home in our theater. At the Sarasota Opera or pause to re-enter. House, "Opera Dress" can be khakis or jeans or evening gowns and tuxedos. Electronics Out of consideration to our performers and patrons, we asked that all Applause Unlike the symphony or other classical cellphones and electronic devices be turned off music concert, you can applaud when the before the performance begins. Just like at your performance moves you (similar to a solo at a jazz local movie theatre, the use of any recording performance). You can also express your devices is strictly prohibited. appreciation for the performers by yelling bravo, brava, or bravi.

30 opera The words you hear around an opera house can often be confusing, especially the ITALIAN ones! The following is a list of words you may hear and their definitions. terms

ARIA A solo song in an opera BRAVO The word the audience yells after a great show! COLORATURA A type of singing where the singer sings a lot of notes very quickly CONDUCTOR The person who leads the singers and orchestra COMPOSER A person who writes music DUET A song sung by two people at the same time FINALE Italian for “final”, a musical number at the end of an act LIBRETTO The words of the opera that are then set to music by the composer (means “little book”) MAESTRO Italian for “master” or “teacher”, the conductor is often referred to as maestro OPERA A play that is sung rather than spoken OVERTURE The musical introduction PIT The place in the theater where the orchestra sits; it is in front of and lower than the stage QUARTET A musical piece involving four singers or instruments RECITATIVE A kind of sung speech; many Mozart operas have this type of sung dialogue SINGSPIEL A German word for an opera that has spoken dialogue; The Magic Flute is an example TRIO A musical piece involving three singers or instruments

Opera seems to have fancy words for everything and the singers are no exception. There are a lot of different types of voices. The list below gives the basic voice types for men and women.

SOPRANO The highest female voice; they are usually the heroine or female romantic lead in the opera.

MEZZO-SOPRANO Mezzo is Italian for “middle”, so a mezzo-soprano is the middle female voice type; they often play more character- type roles like witches, old ladies, gypsies and even young boys!

CONTRALTO The lowest female voice. A real contralto is very rare; the roles written for them are often sung by mezzos who have a strong lower range.

TENOR The highest male voice; they are generally the hero or male romantic lead.

BARITONE The middle male voice; with a warm vocal quality they often play comic roles such as Papageno (in The Magic Flute) or fathers.

BASS The lowest male voice; because of the very low sound they are often villains or the father figure.

31 opera Opera requires a huge cast of players both on and off the stage to make everything come together. Jobs

Led by the Executive Director, members of the administrative staff work to support the artistic mission of the company through fundraising, donor cultivation, community outreach, patron education, and management of the day-to-day needs of the organization. The Development, Marketing, Finance, and Education departments are some of the areas covered under administration.

Administration

Artistic Director - Defines the artistic mission of the company and works with the Executive Director and Artistic Administrator to decide which operas will be performed. In many companies, the artistic director is also a conductor.

Artistic Administrator - Works with the artistic director to cast and plan each production.

Stage Director - Tells the singers where to go, instructs them on how to portray their roles, and works with others to create a vibrant story with lights, costumes, sets, and props.

Stage Manager - Assists the director, singers, and backstage crew during rehearsals and performances with the help of several assistant stage mangers.

Set Designer - Plans or designs the sets through careful research and study. Backstage Lighting Designer - Plans or designs the color, intensity, and frequency of the lights onstage.

Costume Designer - Plans or designs the costumes and supervises their construction.

Wig & Makeup Designer - Oversees the design of hairstyles, wigs, and makeup.

Stage Crew - Assists in the construction, installation, and changing of sets, costumes, lighting, and props during rehearsals and performances.

Cast - All singers and actors who appear onstage.

Principals - Singers who perform the large roles within the opera.

Comprimario - Singers who perform the supporting roles within the opera, from the Italian meaning “next to the first.”

Supernumeraries – “Supers” are actors who participate in the action but do not sing or speak.

On Stage On Conductor – The person who leads the singers and orchestra. Orchestra – The musicians who play the instrumental parts within the score of the opera.

32 Post Create Your Own Review Using the worksheet below, and the Sarasota Observer’s review of The Barber of Seville as a guide, create a review of Sarasota Opera’s performance of The Magic Flute. Show What are the elements of a review? What areas of the production does the reviewer cover? Activity How does the reviewer speak about the positive and negative aspects of the performance?

Rating Notes

Brian Kontes as Sarastro

Andrew Surrena as Tamino

Alexandra Batsios as The Queen of the Night

Matthew Hanscom as Papageno

Tatev Baroyan As Papagena

John Kun Park

as Monostatos

A. Chester, C. Swindle, & N. Woodward as The Three Ladies

G. Dilan, M. Freeman, & A. Lewis as The Three Spirits

The Music

The Sets

The Staging

The Lighting

The Costumes

The Makeup 33 REVIEW: Sarasota Opera receives well-earned standing ovation for 'The Barber of Seville By Edward Alley, Sarasota Observer / Monday, October 29, 2018

Rossini always grumbled that of his 37 operas, he would only be remembered for “The Barber of Seville.”

While it’s true several of his other operas are certainly in the repertoire, his setting of Sterbini’s libretto based on the Beaumarchais play certainly makes “The Barber of Seville” his most performed work.

The dramatic ploy of using cleverness and a little deceit to free a young ward from the romantic desires of an aging guardian so she may find true love and happiness is one that has been pretty much overused in just about every format possible. But it still seems to work.

And work it did when the Sarasota Opera opened its 2018 Fall Season with a rousing revival Oct. 26 of its 2008 production of “The Barber” with a cast of familiar singers.

New to the company was the Count Almaviva of Victor Ryan Robertson, who, in a series of disguises, finally succeeds in freeing Rosina from her elderly guardian, Dr. Bartolo. The Barber of Seville" was first performed in Sarasota in 1963 at the Historic Asolo Theater. Photo by Cliff Roles Robertson’s lyric tenor is at once clear and flexible, if a bit small scaled, and both acting and in their native Italian, which gave them extra voice increased in ardor and verve throughout nuance and velocity when needed, especially in the evening. the patter sections of their arias.

Filippo Fontana, who was seen in last season’s Long a stalwart member of the Sarasota Opera, “Manon Lescaut,” returned as Figaro, and in bass Young Bok Kim has sung a kaleidoscope of spite of a reported twisted knee, gave us a most roles during his tenure, and his singing and active, conniving and well-sung Figaro. His portrayal of the cleric and singing teacher Don voice is both a bit lighter and brighter in timbre Basilio continues to grow and improve vocally. than we usually hear in the role but has a twist His double takes and sly antics only added to the at times that would lead us to believe he also had “commedia dell’arte” feeling of the evening. a bit of a grudge to settle with Dr. Bartolo. By far the most impressive singing of the Stefano De Peppo returned as the overbearing, evening came from Lisa Chavez, who enchanted possessive and — in his own mind at least — everyone as last season’s Carmen. Rossini mistreated Don Bartolo. His characterization originally wrote the role of Rosina for a has both sharpened and deepened since his last contralto, but it is usually sung by mezzo- appearance in this role, adding many subtleties sopranos or sopranos who transpose quite a bit that are only honed by experience. Both of the music and ornamentation to a higher key. Fontana and De Peppo had the luxury of singing

34 Chavez has a lovely voice that could best be twice his tempi seemed a bit fast, even for this described as “mezzo-contralto," because she fine group of singers and players, but keep up certainly has a solid upper register as well as a they did. luscious lower voice. In describing her sound, “honeyed chocolate” is about as close as one can Some listeners may have heard more get, and yet she navigates the coloratura with ornamentation, mini-cadenzas and even apparent ease. Her Rosina was at once shy, appoggiaturas than one usually hears in flirtatious and scheming as she sometimes Rossini, but such additions are certainly within outwitted even Figaro himself. the performance practices of that period and give a welcome freshness to the score, even The small but vital role of Berta, Dr. Bartolo’s when they surprise us. The appoggiaturas were housekeeper, was sung by Anna Mandina, added by De Renzi based on his own research, whose aria was a delightful respite after all the as were the additions to Rossini’s original antics and drama of the preceding quintet. Hers ornamentation. was also the lovely soprano voice that soared forth in both the finales of Acts 2 and 3. All of these antics and stage geography were masterfully constructed by stage director Smaller roles were well managed by Kevin Stephanie Sundine, who handled the sometimes Wetzel, Samuel Schlievert and Garrett Obrycki. gnarly stage movements with seemingly great ease, while allowing the singers freedom of In the pit was the Sarasota Orchestra, ably expression and movement. conducted by Artistic Director Victor De Renzi, who paced an exciting performance. Once or The lovely settings of Jeffrey W. Dean, augmented by Ken Yunker’s ever-fluid lighting were accurate, well-designed and a pleasure to see. Yunker’s solo “storm scene” in Act 3 followed Rossini’s storm music perfectly.

The capacity crowd seemed attuned to every laugh, and the performers certainly earned the standing ovation they received. Although Rossini’s glass of musical champagne could use just a few more bubbles, this production of “The Barber of Seville” is an excellent opening for the 60th anniversary season of the Sarasota Opera and should not be missed. Rossini's "The Barber of Seville" premiered on February 20, 1816 at Rome's Teatro Argentina. Rossini was 24 years old. Photo by Cliff Roles

35 Looking for opportunities to promote the real estate market in Sarasota A(rthur) Sarasota B(ritton) Edwards, Sarasota’s first mayor, prominent entrepreneur, and real estate investor, decided that downtown needed an attraction, signaling to the world that Opera the city was a destination. The Edwards Theatre, opened in April 1926 would serve the community as a place of entertainment, community resource and finally as an House opera house over the next nine decades, approaching its 93rd year in 2019.

The opening night in 1926 was accorded great fanfare in the local press. The performance included a live band, dancers, and an opera singer (Mr. Edwards’ daughter). As a mixed-use venue, it also included the silent movie “Skinner’s Dress Suit” accompanied by the Robert Morton orchestral organ. Later bill of fare included Will Rogers, the Ziegfeld Follies, the exotic fan dancer Sally Rand, and touring opera companies. A hurricane in 1929 destroyed the organ and required renovations to the lobby, but performances continued.

Mr. Edwards sold the venue to the Sparks movie theater chain, which renamed it the Florida Theater. Movies became more prominent in future years, especially in 1952 when Cecil B. DeMille’s The Greatest Show on Earth, largely filmed in Sarasota, had its world premiere, with many of the stars including Charlton Heston and Mr. DeMille in attendance. Live performances in those years included a young Elvis Presley in 1956 (with a top ticket price of $1.50).

The years took its toll on the Florida Theater and in 1972 it stopped showing films. The front part of the building continued to house offices and a radio school, but in 1979, a new future was destined for the building.

The Asolo Opera Guild, founded in 1960 to support opera performances at the Asolo Theatre on the grounds of the Ringling Museum, needed a new home and arranged to purchase the Florida Theater for $150,000. Over the next few years the Guild undertook to renovate the building as it raised funds and in 1984 it was ready to reopen as the Sarasota Opera House.

After a subsequent renovation in 2008, with much of its original beauty restored and enhanced, the Sarasota Opera House was called “one of the finest venues for opera in America” by Musical America. It seats 1,129 and the orchestra pit accommodates over 75 players. It was added to the National Register of Historic Places in 1984, received the Florida Preservation Award in 2010, and helped spur the revival of downtown Sarasota.

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Sarasota In 1960, Sarasota Opera began presenting chamber-sized repertoire in the historic 320-seat Asolo Theater on the grounds of Sarasota’s Ringling Museum of Art. Opera Recognizing the need for a theater more conducive to opera, the company purchased the former A.B. Edwards Theater in downtown Sarasota in 1979 and first performing in it in 1984 as the Sarasota Opera. In 2008, the theater underwent a $20 million renovation and rehabilitation enhancing audience amenities, while updating the technical facilities including increasing the size of the orchestra pit.

Images by Rod Millington / Sarasota Opera

Since 1983, the company has been under the artistic leadership of Victor DeRenzi and administrative leadership of Executive Director Richard Russell since 2012. The company has garnered international attention with its Masterwork Revivals Series, which presents neglected works of artistic merit, as well as the Verdi Cycle producing the complete works of Giuseppe Verdi. Recognizing the importance of training, Maestro DeRenzi founded the Apprentice Artist and Studio Artist programs. Sarasota Opera also maintains a commitment to education through its Invitation to Opera performances for local schools and the unique Sarasota Youth Opera program.

Opera is the ultimate art form combining music, theater, sets, costumes and dance. It has the power to express the full range of human emotions and the human experience. Compelling stories partnered with great music and dazzling productions make a performance at Sarasota Opera an experience that will not be forgotten.

Sarasota Opera is sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, the Florida Arts Council, and the National Endowment for the Arts. Programs are supported in part by an award from the Tourist Development Tax through the Board of County Commissioners, the Tourist Development Council and the Sarasota County Arts Council. Additional funding is provided by the City of Sarasota and the County of Sarasota.

37 Since 1984 Sarasota Youth Opera has given Sarasota thousands of young people the opportunity to experience opera firsthand through Youth participation in after-school choruses, Sarasota Opera mainstage productions, Opera summer workshops, and fully staged Youth Opera productions.

As the only program in the United States committed to presenting annual full-scale opera productions for young voices, accepting all who wish to participate regardless of skill level or ability to pay, Sarasota Youth Opera is a national model for opera education.

Youth Opera Productions Sarasota Opera’s commitment to young people includes producing new operas written for children and young adults.

Six new works have been presented as part of this mission: Deadline (1989), Polly Pen’s Her Lightness (1993), Tom Suta’s Eye of Ra (1998), John Kennedy’s The Language of Birds (2004), Daron Hagen’s Little Nemo in Slumberland (2012), and Rachel J. Peters’ Rootabaga Country (2017).

SYO members take part in the making of each opera complete with professional staging, costumes, lighting, sound, and orchestral accompaniment.

Summer Camp Each June, SYO offers a multiple summer camps for young people. Under the direction of Sarasota Opera’s professional artistic and production staff, campers experience the magic on the stage and behind the scenes as they study the many facets of opera, from music and acting to opera appreciation and production.

Mainstage Productions In addition to their own productions, SYO members have the opportunity to participate in Sarasota Opera’s professional productions as members of the children’s chorus, non-singing extras, and in special solo roles written young voices. In recent seasons these have included roles in The Magic Flute, La bohème, Tosca, Carmen, and Turandot.

38 school Introducing students and educators to the art form and its connections to a wide variety of subject areas, these initiatives offer interactive access to the programs world of opera.

Invitation to Opera Dress Rehearsals Through select orchestra dress rehearsals, students and teachers are invited to experience live opera and interact with performers during intermissions.

Cost: Free! Grade Levels: Six and up Availability: Oct, Feb, and March

Participation in this program addresses specific Florida Standards in music, English language arts, theatre, and world languages.

Opera Artists In Schools Members of Sarasota Opera’s Apprentice and Studio Artist programs engage students and teachers in interactive sessions at their own school, providing direct access to opera and the people that make it happen.

Cost: Free! Grade Levels: First and up Availability: Select dates in Nov

Participation in this program addresses specific Florida Standards in music.

Opera House Tours Staff provides interactive tours highlighting the history of the Opera House, its connection to Sarasota, and careers in the arts. Tours include (when possible) visits to the scenic, costume, and prop shops as well as Q&A sessions.

Cost: Free! Grade Levels: Six and up Availability: Aug, Sept, Dec, April, and May

Participation in this program addresses specific Florida Standards in music, visual arts, theatre, and social studies.

Youth Opera School Matinee Join us for a student matinee of Sarasota Youth Opera's annual full-scale production featuring over 80 young singers ages 8-18 with professional sets, lights, costumes, and chamber orchestra!

Cost: Free! Grade Levels: One to Five Date: Early Nov

Transportation and program registration provided in partnership with Embracing Our Differences.

Participation in this program addresses specific Florida Standards in music, English language arts, theatre, social studies, and science.

Questions & Inquires To learn more, visit our website or our provider and exploration pages on EdExploreSRQ.com

Images by Sam Lowry / Sarasota Opera 39